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Saint Tryphon exorcising the Emperor's daughter

Friday, May 21st 2021

by Cabinet Turquin

This substantial painting, an amazing discovery, is an example of the decorative works of art that would have originally adorned the walls of a "Scuola" in Venice, Italy. These institutions, which were founded in the 13th century and were in operation until Napoleon’s era, included laymen as well as religious members of the same ethnic community or social rank, be it rich patricians or simple craftsmen, or merchants grouped in guilds or confraternities, who were all working in Venice. These Scuole members dedicated themselves to charity and solidarity works. Depending on their needs, they could find there a dwelling, help, physical care or moral comfort through religious practice. "Gastaldos" appointed by the Republic of Venice were at the Head of these Scuole. They were responsible for a smooth running of the group, whose members were governed by statutes known as "mariegola", or rules.

Venice counted up to three hundred Scuole of various size and wealth. These Scuole Grandi or Piccoli often included a hospice, a meeting room, and a chapel or an oratory dedicated to their patron saints. In the 15th and 16th centuries, the construction and interior decoration of some of these buildings were entrusted to renowned architects and painters. The most prestigious of them, the Scuola Grande di San Marco, was built in 1490 by architects Pietro Lombardo and Mauro Codussi. Painters Giovanni Bellini, Palma the Elder, Giovanni Mansueti and the young Tintoretto - who would later famously paint the interior of the equally renowned Scuola Grande San Rocco – all worked on the Scenes from the Life of Saint Mark.

The decoration of the Scuole di Sant' Orsola (Saint Ursula) ca. 1490-1498, that of San Giorgio degli Schiavoni (Saint George of the Slaves) ca. 1502-1508 or that of Santo Stefano (Saint Stephen) in 1511-1525 was entrusted to Vittore Carpaccio (ca. 1465-1520), who was a contemporary of Gentile and Giovanni Bellini, Giovanni Mansueti and Lorenzo Bastiani.

A painting depicting the exorcism of Saint Tryphon by Vittore Carpaccio can be found in the Scuola di San Giorgio degli Schiavoni which is dedicated to Saint George, Saint Jerome and Saint Tryphon, protectors of the Slavic people of Dalmatia, a community mainly made up of sailors. This painting, which has a similar size and theme as ours, obviously inspired the author of our painting (cf. P. Humphrey, Carpaccio, full catalogue, Editions Bordas, Paris, 1992, see pp. 78-79, nr. 161).

Saint Tryphon, a native of Phrygia (Minor Asia), was martyred in the 3rd century. He was the patron saint of the Dalmatian city of Kotor whose cathedral is dedicated to him. After relocating to Venice, the Dalmatian community continued worshipping him. Tryphon performed miracles at a very young age, taming a Basilisk (King of Serpents) and exorcising demons. This is the theme of our painting, on which the daughter of Emperor Gordian (238-244) is freed from evil by the authoritative gesture of the very young saint. Tryphon is waving away the demon so well that it is nowhere to be seen but, according to legend, is hosted inside the ethical dog located at the feet of the purified young woman! While this event took place in Rome, the author of our painting chose to place it in 15th century Venice. Elements of Venetian architecture can be spotted in the urban landscape dominating the scene. For instance; the apse of the church located within the wall are reminiscent of the Venetian-Lombardic style of Codussi and the facade of the building topped by a statue may bear a resemblance to that of the Scuola of San Marco, also by Codussi.

Also very Venetian-looking is the colorful and cosmopolitan crowd attending the scene. The locals can be recognized by their modest dress - simply veiled women and men wearing small black caps - whereas the Orientals wear large crushed velvet coats and elegant turbans. The exorcised girl, who stands in the center of a crowd surrounding her while the young miracle worker is at her feet, raises her head and arms towards the sky in gratitude. A great Orthodox dignitary (?) and the emperor stand beside her. On the right hand side, a bearded man is wearing what was the Jews’ traditional costume at that time, a cap topped by a bowler hat and a long red coat. At the far end stands a likely Byzantine character whose headdress is reminiscent of that of Emperor of Constantinople John VIII Palaeologus (1390-1448), whose image has gone down in history thanks to a famous medal by Pisanello. His presence may allude to the dual Christian and Orthodox origins of Saint Tryphon. The human diversity depicted here reflects the demographics of Venice at the end of the 15th century as described by painters Gentile Bellini, Carpaccio, Cima da Conegliano and Mansueti in Scenes depicting Saint Mark, Saint Ursula or Saint John’s lives (Venice, Academy; Milan, Pinacoteca Brera).

The identity of our painter should likely be sought among the assistants or followers of these great masters. His interpretation of the exorcism scene, on a background of urban architecture animated by characters appearing at windows, curious witnesses of the scene unfolding before their eyes, follows Carpaccio's composition. However, in the latter’s work the crowd is spread across the entire width of the painting after the event has taken place, whereas the action in our painting is centered around the young girl at the moment of the miracle. Finally, the lively painting style, in small luminous strokes, and the less graphic drawing remind us of “Theseus at the Court of Minos” by Cima da Conegliano (1459-1517). The characters’ physical features (women depicted with large round eyes and pointed faces, and old men with conical beards) could also be compared to Giovanni Mansuetti’s work (1485-1527). For further evidence, one could compare the depiction of the young girl’s face with that of Saint Sebastian at the column between Saint Gregory, Saint Francis Liberal and Saint Rocco depicted on the altarpiece housed in Venice (Academy). All of these tend to prove our painter’s protean culture, which has prevented us from identifying him… so far.
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